Cinema has always been a powerful medium—one capable of swaying opinions, shaping ideologies, and fueling revolutions. In its early days, the moving image wasn’t just entertainment; it was a weapon, a vehicle for ideology and influence. From Soviet Russia to Nazi Germany, from wartime America to post-colonial nations, cinema’s first grand act was as a tool of political propaganda.
But as decades passed, its purpose evolved. Somewhere between the Cold War and the Marvel Cinematic Universe, cinema transformed. It became glossier, more global, and exponentially more profitable. Today, the film industry isn’t just about storytelling—it’s about sequels, merchandising, box office records, and billion-dollar universes.
So how did this transformation happen? How did cinema shift from stirring national pride to selling out stadium-sized screenings? This is the story of how moving pictures moved from manifestos to money.
Act I: The Revolutionary Screen – Cinema as Political Propaganda
In the early 20th century, cinema was still in its infancy. But it didn’t take long for governments to recognize its potential.
1. The Soviets and the Power of Montage
The Soviet Union, fresh off the Bolshevik Revolution, was among the first to truly weaponize cinema. Leaders like Lenin understood that film could reach even the illiterate masses. Enter Sergei Eisenstein, a filmmaker who pioneered the montage technique—using rapid, rhythmic editing to evoke emotion and manipulate perception.
His 1925 film Battleship Potemkin wasn’t just a movie—it was a political rallying cry. The infamous “Odessa Steps” sequence was more than aesthetic; it was emotional engineering, designed to ignite revolutionary fervor.
2. Nazi Germany and the Cinema of Control
In Germany, Joseph Goebbels, Hitler’s Minister of Propaganda, understood cinema’s influence all too well. Under his oversight, films like Triumph of the Will (1935) by Leni Riefenstahl glorified the Third Reich with chilling grandeur.
This was not casual moviegoing—it was psychological warfare. Nazi cinema was tightly controlled, mythologizing Hitler while dehumanizing Jews and other “enemies of the state.”
3. Hollywood’s Wartime Machine
Even in democratic countries like the U.S., cinema was drafted into war efforts. During World War II, Hollywood became an unofficial branch of the state, producing films that rallied support for the Allies. Casablanca (1942), though a romance on the surface, was also a call to arms. Studios churned out war dramas, animated shorts (even Disney got involved), and documentaries under government contracts.
In this era, cinema’s primary role wasn’t profit—it was persuasion.
Act II: Post-War Boom and the Shift to Mass Entertainment
After the war, the world changed—and so did the movies.
1. The American Dream on Screen
With the end of WWII came a boom in consumer culture. Suburban expansion, economic growth, and the birth of television pushed film studios to pivot. No longer under strict wartime control, they embraced lighter themes: romance, musicals, Westerns, and suburban fantasies. Singin’ in the Rain (1952) wasn’t selling ideology—it was selling joy.
Yet even this joy had undertones of Cold War anxiety. Films like Invasion of the Body Snatchers (1956) used science fiction to metaphorically explore fears of communism. The propaganda hadn’t disappeared—it had simply evolved into allegory.
2. The Rise of Youth Culture and Counter-Cinema
By the 1960s and 70s, cinema started reflecting countercultural movements. Films like Easy Rider (1969) and A Clockwork Orange (1971) challenged authority and tradition.
At the same time, the Hollywood studio system was faltering. Younger, auteur-driven directors—Scorsese, Coppola, Spielberg—ushered in a new era of creativity. These were filmmakers who straddled the line: artistically daring, but also commercially successful.
Cinema was no longer just for spreading ideologies; it was starting to mint money.
Act III: Blockbuster Era – The Birth of the Cash Cow
The late 1970s marked a seismic shift in film’s purpose. It wasn’t about propaganda anymore. It was about profit—and lots of it.
1. Jaws, Star Wars, and the Blueprint for Blockbusters
Steven Spielberg’s Jaws (1975) changed everything. It was the first “summer blockbuster,” using a nationwide release strategy, television ads, and mass appeal to drive ticket sales. George Lucas followed suit with Star Wars (1977), which didn’t just earn money—it created an entire merchandising empire.
This was the moment when studios realized that films could be global products. Tie-in toys, fast food deals, and T-shirts became as important as the movie itself.
2. The Franchise Formula
Once the blockbuster formula was discovered, studios leaned into it. Sequels, prequels, and cinematic universes became the norm. From Rocky to Batman, from Harry Potter to the MCU, the new goal wasn’t cultural discourse—it was repeat business.
This shift was backed by data. Test screenings, audience research, and market analytics began to dictate plotlines. Art took a backseat to ROI.
3. The Global Box Office Boom
The 1990s and 2000s saw an explosion in international markets, particularly China. Hollywood started catering to global tastes—simpler plots, more action, fewer controversial themes.
Studios also began relying more heavily on international revenue. For example, Transformers: Age of Extinction (2014) made over 75% of its box office gross outside the U.S.
Cinema was no longer a national tool. It was a global product.
Act IV: The Modern Era – Content, IP, and Streaming Wars
As we enter the 21st century, the line between movies, marketing, and media conglomerates has blurred.
1. Intellectual Property Rules Everything
In today’s landscape, original films struggle to compete. Studios now chase “IP”—intellectual property with built-in audiences. Whether it’s superhero comics, video games, or nostalgic reboots, recognizable brands dominate.
Disney, for instance, has built an empire on this strategy, buying Marvel, Star Wars, and 20th Century Fox to fuel its content machine.
2. Streaming Disruption and the Death of the Middle
The rise of Netflix, Amazon, and other platforms has split cinema into two extremes: mega-budget blockbusters (theatrical tentpoles) and indie-style films (streaming originals).
Mid-budget dramas, rom-coms, and thrillers—the lifeblood of ’90s cinema—have been pushed to the fringes. It’s all about spectacle or niche.
Cinema is now both more accessible and more segmented. It’s no longer just what you watch in theaters—it’s what you binge at 2am. But the business model remains the same: eyeballs equal dollars.
3. Cinema’s New Propaganda: Capitalism Itself
Ironically, cinema hasn’t fully left propaganda behind. It’s just changed causes. Today, the ideology is consumerism. Films don’t preach nationalistic messages; they sell lifestyle, tech, and ideology under capitalism.
The Marvel movies, for example, celebrate military aesthetics, hyper-individualism, and brand power—even when dressed in moral ambiguity. The propaganda is no longer overt—it’s embedded in production values and product placement.
Epilogue: Is There Still Room for Art?
Despite the commercial takeover, not all is lost. Filmmakers like Bong Joon-ho (Parasite), Jordan Peele (Get Out), and Chloé Zhao (Nomadland) continue to push boundaries, proving that cinema can still reflect society while being profitable.
But they are the exception, not the rule.
In a world of $300 million budgets and box office spreadsheets, the era of cinema as a primary political tool is mostly over—replaced by franchises that are designed to sell, not stir.
Conclusion: The Big Picture
Cinema’s journey from propaganda to profit machine is a mirror of society’s own evolution. It began in the service of nations, shaped by war, revolution, and ideology. But in a globalized, digital economy, cinema has become the ultimate capitalist product.
It’s no longer about shaping hearts and minds—it’s about winning wallets.
Yet the power of cinema remains. Whether rallying a nation or launching a toy line, it taps into emotion like no other medium. The difference is no longer what cinema is saying—but who is paying to say it.
